The Singapore-based Bomanbridge Media distributes programming that ranges from drama and mystery, to nature and wildlife, to kids and animation. Where Spiders Dwell explores the astonishing places where different types of arachnids live and how they adapt in the face of hostility. The animated series Hanakappa tells the story of a little kappa boy who lives in a village with friends, family, and some naughty foes. Buddy Thunderstruck (pictured) is a truck-racing dog that brings outrageous, high-octane adventures to the town of Greasepit. Twelve contestants will live in the Gamerz House where they will be tested in daily interactive eSports challenges and matches. World Cup Postcards takes viewers on a tour of the 2018 FIFA World Cup’s host country, where the nation’s culture and history are displayed. Stand P-1.E18

This year, Bomanbridge Media has stepped into the market with Japanese animation for the first time, “which has been incredibly exciting,” says CEO Sonia Fleck.

“It is an extremely competitive environment. We are enjoying the dynamic energy the kids’ buyers bring to the landscape and are pleased with the deals we are closing so far.” Inazuma Eleven Ares, the third in the soccer trilogy by LEVEL-5 abby, follows the story of a group of passionate sports lovers who together are preventing their soccer team from being disbanded. Inazuma Eleven Ares will be released right before the World Cup.

The company is also offering the detective series Emma Fielding Mysteries, as well as the Gamerz format. Gamerz taps into the eSports phenomenon.

Singapore and Montreal – January 24, 2018: Bomanbridge Media, a Singapore-based content distribution and production agency, and Canadian film and television production company, Muse Entertainment, are partnering to bring Muse’s popular productions to viewers throughout Asia.

Muse’s diverse, high-quality drama programming includes series, miniseries and movies, many of them award winners. Muse also produces innovative documentaries and factual programmes.

To clench the Asian market, Muse has decided to make a significant strategic change by opening up its valuable scripted content for remake rights to Asian drama producers.

“We are thrilled to have the expert team of Bomanbridge Media handle sales of our vast scripted content, including event miniseries; such as, The Kennedys: After Camelot, The Kennedys and TUT and multiple original television movies that we’ve produced for the Hallmark channel in the US. This new venture into licensing format/script rights for the remake of our movies across Asia will be in great hands,” says Shawn Rosengarten, Vice President, Distribution, Muse Distribution International.

“Bomanbridge Media is excited to be working with Muse’s fantastic film and series catalogue, and we are pleased to be at the forefront of its ambitious move to grasp the Asian market through offering the ‘tried and tested’ Muse scripts for local production,” says Sonia Fleck, CEO of Bomanbridge Media.

Bomanbridge Media is a prominent Singapore-based distribution agency and production company, which exclusively represents renowned programming from around the world. The company has a diverse catalogue with over thousands of hours of Formats, Lifestyle, Factual, Drama, Kids and Educational programming.

Like most in the industry, I attend many television markets. As a distributor, we take our clients out on the town, and with the utmost care, choose restaurants that will give us paradise on a plate.

Over the years, I have found our Asian clients don’t always love western tastes. Fair enough. Personally, it took me time to understand the grace of kimchi, the tart bite of bitter gourd and other unique Asian delicacies. Today, I’ll fight for a bowl of good tom yum any time.

But this is not a food article. This is about Asian television viewership tastes, or rather their expectation of the experiences.

Asia has one of the largest millennial populations in the world. They have come of age in perpetually quantified state -their genetic data is on apps from Helix, they move with Fitbit and their whereabouts are on Instagram. Millennials are interacting all day but almost entirely through a screen.

This generation grew up watching reality shows, which are generally entertaining programmes about narcissists. Now they are themselves prepared to make their own reality TV.

Asian viewers lived though a rapid economic transformation. Talent, like water, is flowing through all the cracks and breaking down stereotypes. Viewers are themselves so comfortable in front of their own stories. The channels here really want to do more of that, too.

This is not great news for the endless ready-made content available from the West. US drama will always have a place, but it has lost ground in recent years. US superhero series are great, but Asian drama has proven it doesn’t have to be all action and violence. We now see fantastic Asian local prime-time shows about families, growing up, romance, friendship – I call it ‘the good stuff in life’. For example, a K-drama doesn’t take the idea of love and max it out all at once, with main characters becoming intimate by episode two. It gradually blossoms over the course of the show, proving that the little things are what matter. It’s the underlying emotional tension of Pride & Prejudice all over again with eastern nuance. And it works. In Asia these series last up to 20 episodes, so the infatuated viewer gets a lot more bang for their-throbbing buck!

In lifestyle content, DIY and remake shows generally don’t do well in Asia. Series can only get a real fan base if the presenter is light, fun and not too hands-on with the saws and hammers. The general attitude in Asia is to leave it to the professionals.

Travelogues do well, but Asians travel now more than ever and have a seasoned eye when it comes to the joys of globetrotting. They don’t want presenters who are bystanders, they want to see them live it, show emotion and maybe make mistakes in their quest to be real.

In the short, the Asian authenticity gauge has jumped to new levels of expectation. To respond to this, our company is focusing on formats that allow viewers to tell their own stories, to watch it as a transformative experience and celebrate the good stuff in life.

Our show The Fashion hero, created by Beauty World Search, allow people in Asia to present themselves as the brand they have created online with their friends and followers. We all do this with our social media, whether we realize it or not. This competition reality series, driven by significant online involvement, asks participants to celebrate themselves as they want to. Ow liberating. This show allows us to break down fashion industry norms of beauty and still be micro-celebrity.

Reality gaming competition Gamerz, created by Gamingzone, is another format poised for localization in Asia. Viewers are offered immediate online participation and the chance to get into the actual show at anytime during broadcast. With the launch of gaming channels in the region, it’s clear a loyal gamer following exists, and even better, the show offers a way to make gaming a job, with serious salaries if you’re a winner.

Asia is the undeniably becoming more self-indulgent in regard to its own content. Tastes are expanding and creating clearer local stories that simply make better cultural sense – the ‘unami’, or the fifth taste after salt, sweet, sour and bitter. And new tastes mean exciting new experiences.

Singapore – 30 November 2017: Bomanbridge Media, a Singapore-based content distribution and production agency, and INK Group have licensed the animated series, The Mojicons, to multiple broadcasters including Jetsen (China), Sun TV (India), TPBS (Thailand), and Canal+ (Myanmar).

The animated series from Denmark’s Ink Group tells of the behind-the-scenes world of the Internet, populated by Mojicons – innumerable emoticons we routinely use in email communication and mobile messaging. Ironically this zany bunch of condensed emotions is clueless as to how the Web works. When a mysterious digital villain steals the “@” sign – thus halting electronic correspondence – the Mojicons must embark on an awe-inducing and dangerous quest to restore their system. If only they knew what the “system” was!! Many a jaw will drop on both sides of the screen as the Internet universe reveals its secrets to Mojicons and kids watching their crazy adventures.

“Bomanbridge is really pleased to announce at this ATF that we have had an overwhelming sales success of Mojicons within the Asian markets. We will continue to deliver exceptional global content, so that we can monetize intelligently as well as entertain our young audiences,” said Sonia Fleck, CEO of Bomanbridge Media.

Claus Toemming, Managing Partner of Ink Group said, “We are always looking for projects that combine distinct originality with a really strong story, as this appeals not only to international media buyers, but most importantly to kids. We don’t represent a lot of shows as we value quality over quantity, but this project definitely fits the bill and will benefit from the long-term dedicated global cross-media plan for building a franchise.”

Singapore – 29 November 2017: Bomanbridge Media, a Singapore-based content distribution and production agency secured a distribution partnership with Level-5 Abby Hong Kong, the recently created joint venture between the renowned video game publisher LEVEL-5, and Dentsu Inc., one of the top-ranked global advertising networks.

“We’re very excited to join forces with Bomanbridge’s team to deliver eco-systems where video game, mobile game, TV content, marketing and consumer products interact seamlessly with each other, creating a rich and engaging universe for the end consumer” said Sandrine de Raspide, SVP at LEVEL-5 Abby Hong Kong.

“We are really looking forward to a meaningful relationship with Level-5 Abby,” said Sonia Fleck, CEO of Bomanbridge. “Teaming up with one of the best animation companies in Japan is an exciting step for us. Bomanbridge is confident that this new collaboration with Level-5 Abby will prove very effective in ensuring a thorough impact on the market, helping Level 5’s IP to reach their full potential.”

Sonia Fleck, CEO of Bomanbridge Media, tells TV Formats about her new lineup and weighs in on what local platforms are looking for.

One of Asia’s leading independent content distributors, Singapore-based Bomanbridge Media has been catering to channels and platforms across the region with a broad mix of programming, from a large selection of factual and kids’ fare to drama, movies and more. Formats have long been a part of the company’s slate, but its strategy in this space has shifted recently in response to changes in the market.

TV FORMATS: Tell us about Bomanbridge’s overall format business.FLECK: Bomanbridge Media has in the past distributed a large variety of formats from production companies all over the world, always with the focus to license them within Asia-Pacific territories. This year, the decision was made to cut back and discontinue distribution efforts on format themes that simply do not work well. Formats require a lot of time, energy and creative collaboration. We want those efforts to be efficient and focused. Observational reality series, for example, frankly have a low resell value in Asia. Other genres, such as dance competitions, are also not strong on the list of successful themes to localize. The company is, therefore, tightening our focus to carry formats that are suitable for Asian tastes. We are now focusing almost entirely on game-show studio-based formats, beauty and “inspirational” competition, as well as a curated selection of other talent-based competitions. Lastly, and perhaps most importantly, we have begun very aggressively picking up formats that have a strong digital angle. Whether it be linear channels or nonlinear platforms, a smart digital angle can provide a beautiful opening to additional revenues for our clients. In addition to this new line of format acquisitions, we have equally begun developing our own formats and shall be launching a couple of them at MIPTV 2018. In short, we would rather have a small and powerful format catalog, versus a large but encumbering one.

TV FORMATS: What formats are you showcasing, and why do you think they fill a need in the region?FLECK: Bomanbridge Media has entered into a distribution partnership with Gamingzone Entertainment (GZE) to represent the world’s ﬁrst live eSports reality format, Gamerz, originally launched in the Nordic territories. With the global popularity of eSports increasing at a rapid pace—targeting to reach almost 600 million by 2020—it is an exciting opportunity to bring this highly popular content to Asia. This series is structured to generate drama, education and engagement, while giving participants a once-in-a-lifetime opportunity to train together with world-renowned professional gamers. Gamerz is an extremely attractive format as it wraps the staple reality-entertainment format component in with the lucrative online gaming market. Asia represents the majority of gaming participation and actual revenue, which makes this a great opportunity for channels and online platforms that would like to explore an entertainment program that allows a more accessible mainstream approach. We’ve had an overwhelming response to this program and are currently in negotiations with multiple parties in the region.

Bomanbridge is [also] bringing to ATF the format The Fashion Hero, created by Beauty World Search. This global digital beauty and modeling movement offers a phenomenal online participation that adds a very attractive component to the TV series. The concept of “real beauty” is a global trend fuelled by social media and our broadcast platforms can have an exciting interaction with the public while also getting a great show that will drive viewership. This show can be digitally lucrative and a channel success. I think the combination of stylish, unique, individual empowerment, wrapped in the tale of modern fashion, is a very positive and rapidly spreading online movement. This fresh approach will be appealing to brand sponsors and young audiences alike. A deal was recently done with Amazon Prime in the U.S. and the U.K. and we have received a lot of interest in it for Asia as well, both with online platforms as well as channels.

TV FORMATS: What are some of the trends you’re seeing in terms of format acquisition in the region? What kinds of formats are broadcasters looking for?FLECK: The formats that give the channels bang for their buck, allow them to recoup their production costs and garner ratings, are game shows, entertainment, scripted drama and singing competition shows.

TV FORMATS: What potential do you see for branded-entertainment formats, and is this a growing area of the business?FLECK: I have mixed feelings on this. At a certain moment in Asia, about two years ago, we thought branded content was coming in a big way. We have since then seen a reduction in clear branded programming. I think broadcasters struggled with getting the advertising-driven format to provide authentic entertainment. It’s a delicate balance, and branded content really needs to tell the brand’s story. Otherwise, the brand cannibalizes the entertainment. I do not think this is being done yet to perfection, and frankly, not every show is meant to be “branded content.”

TV FORMATS: What are your expectations for your format business in Asia in 2018?FLECK: As mentioned, I believe less is more. With the strengthened focus on the themes of our formats, we expect that we will see a much stronger success record in the next fiscal year. Our digital formats have had a really strong interest level, and we are closing several deals in such a short amount of time since the launch. It’s very exciting.

TV FORMATS: What are some of your other highlights for ATF?FLECK: Snack World is a hilarious kids’ series that offers major cross-media money-spinning opportunities through their toys, video games and assorted merchandise. All of this will attract larger audiences. The show’s entertainment approach has a hyper-casual fantasy feel, and it offers total “snacky,” short and in-your-face humor. Perfect for a generation that wants the entertainment now, immediately. The producers, Level-5, have had major success in the past with programs such as Yo-kai Watch. The caliber of their production quality is excellent, and we are confident this will be a great program for channels wanting to capture immediate ratings.

Donal’s Asian Baking Adventure is exactly what our channels are looking for. The show is hands-down a perfect match for the pan-regionals who now want that local Asian flavor. With travels from Japan and Southeast Asia, the show gives a great feel of the region, balancing authentic Asian food perspectives with a western chef breaking ground in popularity in the Asia Pacific.

Bomanbridge is, as always, carefully curating the content offering to capture the local Asian tastes, while also offering programs that can still be of interest to international audiences. Our goal at this market is to really get momentum on the fantastic formats we now carry, such as Gamerz and The Fashion Hero, as well as to begin licensing a number of major Japanese kids’ animation series we will launch at ATF.

Bomanbridge Media in Singapore, the UK’s Arrow Media and CJ E&M in South Korea are among the prodcos to have joined North American non-fiction trade body NPact as part of a wider shake-up of the organisation.

John Ford

US producers Super Delicious and Ugly Brother Studios have also joined NPact, which serves as the industry voice for producers of non-fiction entertainment content in North America. Meanwhile, Revolution Entertainment Services has joined the organisation as an associate member.

NPact, which was formed this year following the merger of the Nonfiction Producers Association and PactUS – overseen by the late David Lyle – has also announced its new 25-strong board of directors, nine of whom will comprise the new executive committee.

NPact now represents 90 production companies and 11 associate members, which are service providers to the unscripted industry.

Announcing the new changes, NPact’s general manager John Ford labelled his members the “life force of the unscripted content business.”

“From eight founding member companies, NPact has grown to include more than 100,” he added. “We take great pride in being a voice for the non-fiction creative community, as well as a forum for shared insights that can help producers expand their businesses, and for discussion on our quickly changing media environment.”

Using Sabbatical’s production model and “a shared strategy for maximizing international value”, the two distribution and production companies will develop, deliver and distribute high-quality original formats for global audiences.

Bomanbridge, meanwhile, will distribute Sabbatical’s exclusive original productions throughout Asia. Projects will include Kids’ Planet, The World is Yours, Vignettes of the 2018 FIFA World Cup Russia, and Inspiring Beauty.

Sabbatical, in turn, will support the distribution efforts of Bomanbridge’s productions in Latin America and the Hispanic market in the U.S.

“I have great respect for Bomanbridge, and partnering with them is a move which enables both companies to unite the Asian and Latin American markets,” said Sabbatical CEO Miguel Somoza (pictured, left, with Bomanbridge CEO Sonia Fleck) in a statement. “Our markets are complementary and will serve to propel our content forward.”

Gamingzone Entertainment (GZE) has entered into a distribution partnership with Bomanbridge Media and Passion Distribution, to represent the world’s ﬁrst live Esports reality format “GAMERZ”.

Bomanbridge Media will be distributing the format in Asia Pacific, while Passion Distribution will be distributing across the rest of the world including Australia and New Zealand.

Produced by the GZE Organisation, GAMERZ offers online gaming talent an incredible opportunity to become Esport professionals. 12 great amateur talents will live together in the GAMERZ House where they will be pushed to their mental, physical, and gaming limits. Well known professional gamers will support them closely during the competition to help them maximize their potential. Viewers get to witness the drama, emotions and humour of the contestants as they share the same living space and form alliances and bonds. To add further drama, players at home will have surprise opportunities to enter the GAMERZ House during the competition.

All the players will be tested and challenged daily in live broadcasts of matches – battling it out to the grand finale, where ﬁve lucky winners will be awarded a six months professional gaming contract.

The original series of GAMERZ focuses on the game CS:GO and was broadcast across the Nordics on Twitch, Youtube, Facebook, and Viafree with a slew of sponsors on board to support the launch last year.

Esports is a platform for competitive gaming which sees teams play computer games against their opponents. It is a global phenomenon, generating $493m in revenue in 2016, and expected to increase to $1.1 billion by 2019. Coupled with the increasing availability of online streaming platforms, it opens a bigger room for expansion as it allows fans (and potential fans) to view Esports tournaments live online.

“It’s incredibly exciting to apply successful elements of reality TV to a totally new genre – Esport. The hard-to-reach target group of young gamers aged 15 to 35 loves to watch fast-paced, fun and entertaining content. But they consume it on their own terms – whenever and wherever they like. The first Scandi season of GAMERZ was a success and perfectly tailored for this audience.” said Robert Jönsson, Creative Director GZE.

“With the global popularity of Esports increasing at a rapid pace – targeting to reach almost 600 million by 2020 – it is an honour to be in partnership with GZE Organisation to distribute the world’s first ever Esports gaming format in Asia. This series is structured to generate drama, education and engagement while giving participants’ a once in a lifetime opportunity to train together with world renowned professional gamers. We at Bomanbridge are confident that the Asian adaptations would be equally as efficacious and lucrative,” said Sonia Fleck, CEO of Bomanbridge Media.

”Esports has a huge untapped potential TV market and GAMERZ presents a format which for the first time bridges the worlds of Esports and mainstream reality television. Passion Distribution is delighted to be working with GZE to bring the format which has already been a proven success in the Nordics to the rest of the world,” said Emmanuelle Namiech, CEO Passion Distribution.

Bomanbridge Media and Passion Distribution will launch the format to international buyers at MIPCOM 2017.